I hope my readers will forgive me if this post is somewhat less detailed than the ones I wrote in the past, as up to the very last moment I was not sure I felt up to writing my usual “Best of the Year” piece. However, I have tried my best to comment on the many highlights of a year that – while utterly dismal in terms of global events – was definitely a bumper year for interesting progressive music.

In my native Italy, leap years are considered unlucky, and 2016 did nothing to dispel this myth, crammed as it was with global turmoil and high-profile deaths. For prog fans, this year will go down in history for the double whammy of Keith Emerson and Greg Lake’s loss, as well as David Bowie’s passing a couple of days after the release of his Blackstar album. On the other and, while many of the protagonists of prog’s heyday have started leaving this planet, the younger generations – though faced with a world increasingly uncaring about music as an art form – have been forging a path ahead for the progressive genre, often displaying the barest of affiliations to the modes of the past. A few of the names that will appear in this post, as well as in many fans’ lists, have received warm accolades in the “mainstream” press, and are therefore getting exposed to more diverse audiences. In many ways, these artists resemble the original prog generation in their desire to explore and experiment, rather than stick to a tried-and-tested formula as the “retro” acts do.

Even if lately my reviewing activity has been almost non-existent, I have kept in touch with new releases through my regular participation in DPRP’s Something for the Weekend? feature. On the other hand, a lot of highly rated 2016 albums have flown directly under my radar, so anyone who wishes to read further should take the absence of a rather large number of prog fans’ favourites into account – as the title of this post makes it quite clear. As usual, I have not had either the time or the inclination (or both) to listen to many of the albums that are prominently featured in many people’s Top 10 (or 20, or 50…) lists, because the amount of music released during the past 12 months under the increasingly broad “progressive” label was nothing short of staggering. And then, in all honesty, my tastes have been steadily drifting away from the traditional prog still enthusiastically embraced by both artists and fans. While I still have a lot of time for the classics, I am constantly on the lookout for modern music that will redefine the prog label without sounding derivative. In this respect, 2016 was like a 12-month Christmas.

For this edition, I have decided to adopt a similar format to the one used by my esteemed friend and fellow reviewer, Roger Trenwith, on his excellent Astounded by Sound! blog. In this way, I will still avoid the dreaded (though popular) numbered list, and at the same time make it somewhat easier for my readers to pick out albums. Although the order of appearance may partly reflect my own preferences, all the albums briefly described in the following paragraphs are well worth checking out. I have tried to include all those albums that have impressed me during the past 12 months, (many of which have already been recommended by me or my fellow reviewers on Something for the Weekend?) though obviously there are bound to be omissions for which I apologize beforehand. Links to Bandcamp or other streaming services are provided whenever available.

And here we go…

Knifeworld –Bottled Out of Eden (UK) – A real joy from start to finish, as intricate and eclectic as the best vintage prog, Knifeworld’s third release is yet another winner from prog’s other busiest man, the one and only Kavus Torabi.

North Sea Radio Orchestra – Dronne (UK) – Another Cardiacs-related effort, the fourth album by the ensemble led by Craig Fortnam is pure class, brimming with ethereal beauty and sterling performances.

Bent Knee – Say So (USA) – The third full-length release from the Boston crew led by charismatic vocalist Courtney Swain boasts interesting songwriting and an almost punky edge, tempered by a sort of confessional vibe.

Gong – Rejoice! I’m Dead! (Multi-national) – Though Daevid Allen may be gone from this earthly plane, he left his beloved creature in the trusty hands of Kavus Torabi (again!), who gives the album a modern edge while paying homage to the band’s decades-long history.

Gösta Berlings Saga – Sersophane (Sweden) – Released just two weeks before the end of the year, the long-awaited fourth album from the magnificent Swedes (augmented, as usual, by Mattias Olsson) brings 2016 to a close with a bang. 40 minutes of stunningly hypnotic instrumental music by one of the finest bands in the business.

Deus Ex Machina – Devoto (Italy) – Another highly awaited comeback from one of Italy’s most distinctive bands, chock full of energy, melody and outstanding performances – though without any Latin in sight.

Yugen – Death by Water (Italy) – The iconic Milan-based ensemble led by guitarist Francesco Zago is back with a dense, austere album that demands a lot from the listener. Modern Avant-Prog at its finest.

Zhongyu – Zhongyu (USA) – Seamlessly blending jazz-rock, Avant-Prog, Far Eastern music and improvisation, the debut album by Jon Davis’ Seattle-based quintet (featuring three members of Moraine) is a must-listen for lovers of cutting-edge instrumental prog.

Mamma Non Piangere – N.3 (Italy) – The triumphant return of the veteran Italian RIO/Avant outfit will put a smile on your face,even if you do not understand the language. Stunning vocal performance from Laura Agostinelli of Garamond.

Chromb! – 1000 (France) – The Lyon scene is a real treasure trove of great bands exploring the many facets of the Avant universe – as illustrated by Chromb!’s outstanding third album.

Ukandanz – Awo (France) – What would happen if you crossed traditional Ethiopian music with RIO/Avant? The answer is Ukandanz –another winner from the seemingly inexhaustible Lyon scene.

Herd of Instinct – Manifestation (USA) – Intense and mysterious, yet pervasively melodic, the Texas band’s third album displays a stronger influence from their Djam Karet mentors than their previous releases.

French TV – Ambassadors of Health and Clean Living (USA) – Mike Sary’s veteran project’s comeback, recorded with the members of Japanese instrumental band TEE, offers a challenging blend of RIO/Avant and jazz-rock.

Jack O’ The Clock – Repetitions Of The Old City I (USA) – The latest effort from Damon Waitkus’ crew confirms their status as purveyors of unique-sounding chamber rock.

Ampledeed – BYOB (USA) – The second album from the Californian band brings more top-notch art rock with plenty of diverse influences

Luz de Riada – Cuentos y Fabulas 3 (Mexico) – Ramsés Luna’s collective sounds like almost nothing else, though of course fans of Cabezas de Cera will found a lot to love in this album.

Though as a rule I generally mention albums I have heard in their entirety, this year I will make an exception for a handful of interesting albums that – for some reason or another – I have managed to listen to only partially:

Stick Men – Prog Noir (Multi-national) – Waiting for King Crimson to release some new material, here is a feast for lovers of touch guitars and intricate polyrhythms.

Although, as I pointed out in the introduction, in my list there are quite a few of what the average prog fan would consider glaring omissions, I believe that the majority of the music mentioned above has the potential to appeal to anyone but the most hidebound listeners. It might not be “your father’s prog”, but it is definitely worth a try if you want to expand your musical horizons – and support a bunch of highly deserving artists (and the independent labels that keep up the good work in spite of all the setbacks) in the process.

Before I bring this rather lengthy post to a close, I would like to spend a few words on the question of reviews, or lack thereof. As much as I would love to start reviewing again on a regular basis, I do not see myself resuming that activity – which was of great comfort to me in difficult times – on the scale of the earlier years of this decade. In a person’s life there is probably a time for everything, and my career as a reviewer was probably fated to be a short (though intense) one. I will keep this blog alive on behalf of the many bands and artists whom I wrote about in the past few years, and for publishing the occasional piece like this one. However, I believe it is time to pass the torch to other reviewers, who are much more prolific and reliable than I have been since 2013 or so. I will keep up my contributions to Something for the Weekend? as a means of spreading the word about new music, as well as occasionally adding some band to the ProgArchives database. In the meantime, while we wait for the first 2017 releases, I hope my readers will discover at least one new band or solo artist by browsing my suggestions. Happy listening, and a great 2017 to everyone!

With the final curtain fallen on NEARfest in June 2012, a void has been left in the once-thriving US progressive rock festival scene. In the past couple of years, the increasing fragmentation of the target audience – as well as other factors such as the lingering economic downturn – have provided a brusque reality check to anyone daring enough to invest time and money in this often unrewarding task While the cottage-industry organization of ProgDay is still going strong (probably because of its unpretentious structure), and ROSfest keeps attracting a steady number of devotees to its Gettysburg premises, other more ambitious efforts have ended in failure before they even started. The enthusiasm about Baja Prog’s return after a four-year hiatus was tempered by a lineup that penalizes US bands, and is in many ways a duplicate of the last NEARfest – not to mention that the festival takes place in a part of the continent that is not exactly convenient for many US dwellers.

However, almost unexpectedly, a new event has stepped in at that particular time of the year, though in no way aiming to fill NEARfest’s daunting shoes by offering a range of reasonably high-profile bands, including some “bucket list”ones. In fact, the organizers of Seaprog Music Festival seem to have taken the ProgDay template even further, concentrating almost exclusively on US acts and spotlighting local talent. The event is scheduled for June 28-30, 2013, at Columbia City Theater, a nearly 100-year-old venue in the iconic Pacific Northwest metropolis of Seattle – home to such diverse acts as Jimi Hendrix, Heart, Queensryche and the grunge bands of the early Nineties. Starting on the evening of Friday, June 28, with a free show, the festival proper will be spread over the whole of Saturday and Sunday, showcasing a total of 11 bands.

Seaprog comes with the uncompromising tagline of “not your parents’prog” and a well-articulated manifesto that invites people to be open-minded in their approach to the world of non-mainstream music. In spite of the many attempts to separate “prog” from the original meaning of the word “progressive”, and turn it into nothing more than a codified genre complete with plenty of sarcasm-inducing mannerisms, there are still those who want “progressive” to be much more than a byword for self-indulgence and worship of the past.

The members of the organizing committee are dedicated musicians with years of experience under their belt: guitarist Dennis Rea (of Moraine and Iron Kim Style fame), drummer John Reagan (formerly of Harlequin Mass, now with Dissonati) and stick player Jon Davis (currently a member of Zhongyu with Rea and Moraine’s Alicia and Jim DeJoie). All three of them share similar views on what constitutes “prog”, which may not necessarily resonate with those who espouse the “prog as a genre” theory, but will instead find support in genuinely adventurous listeners. The event is a strictly non-profit venture, and the organizers’s main aim in undertaking this effort, as stated at the bottom of every page of Seaprog’s excellently crafted website, is to offer a world-class music event in a city that is better known for heavy rock and trendy alternative/indie bands.

As can be expected after reading the festival’s manifesto, Seaprog is heavily geared towards the cutting-edge side of the progressive rock spectrum, with seminal RIO/Avant band Thinking Plague in the coveted spot of Sunday headliner for their first-even Seattle show. The Colorado-based outfit’s latest recording effort, Decline and Fall, was one of the defining albums of 2012, and their triumphant appearance at last year’s RIO Festival helped to consolidate their reputation as purveyors of difficult but highly rewarding music. Thinking Plague’s Dave Willey and Elaine Di Falco will also appear on stage with Hughscore Revisited, a quartet that will perform compositions by legendary Soft Machine bassist Hugh Hopper, who passed away in 2009. Not surprisingly, Moraine, Zhongyu and Dissonati will also be on board. The other names on the lineup are less familiar to the majority of prog fans: local outfits Alex’s Hand, Monkey BatOperation ID and Trimtab (originally formed in Minneapolis, but now based in Seattle), and Italian multi-instrumentalist Jolanda. At the time of writing, the Saturday headliner remains to be announced. Links to all of the artists’ webpages are available on the event’s site. A Kickstarter campaign will also be launched to finance recording of the shows.

After so much fretting about the future of the US festival scene following the demise of NEARfest and the cancellation of OhioProg and FarFest, it is heartwarming to see people take things into their own hands in order to promote homegrown talent, even though on a much smaller scale than NEARfest, ROSfest or Baja Prog. As I have often written on these pages, this is probably the most viable model, which allows the organizers not to be bound by the necessity of filling a larger venue, therefore having to budget for inevitably more expensive “international” bands. Hoping for a healthy turnout that will allow the festival to continue at least in 2014, I applaud the organizers for their bravery and dedication to the cause of progressive music.